For example, I really need to sit down, and make sure I know the different pieces that are I’m performing with Earthwalk Dance Company in like a month. I don’t know what it is with James’ choreography, but it’s hard for me to remember. I have them on video, I’m just terrible about making myself take the time to go over them before rehearsal and then I look like a moron when I have no idea what direction I’m going next.
I also really need to do better at getting back into a routine when it comes to going to different dance classes. I’m terrible at making the time and actually committing to going to class, although some of that right now has to do with the fact that I am rehearsing 3 days a week. But…it’s really important that when I’m done with these performances, I actually get back into class so I’m still dancing and working on networking with other dancers in the area.
The one thing that I have been more disciplined about is creating opportunities for myself and seeking out different projects. I should work on developing my own projects, but for now I’m happy that I’ve somewhat kept up the momentum that I’ve created in the last couple months.
“The magic of a dance…is something purely accidental. The irony of this is that you have to work harder than anyone else for the accident to occur. Then, when it happens, it is the only thing in your life guaranteed never to happen again. This, to some, is an unhappy state of affairs, and yet to others, it is the only ecstasy. Perhaps, then, you should forget everything I have said to you and remember only this: The real beauty in life is that beauty can sometimes occur.”—"Dancer" by Colum McCann
I contacted the choreographer for that audition I missed and told her what happened and now…
She invited me to the callback. Mainly because I think she recognizes most of the people from the Bay Area portion of my resume. I’m a little intimidated about walking straight into the callback without knowing what kind of dancers will be there, but I’m excited :)
I jokingly ask Jake this all the time when I’m getting really frustrated about something…but today, I meant it. And he’s gone for the weekend, so I had no one to humor me or witness the mess that I am sometimes.
I have to back track a bit first…
I get psyched out about going to auditions sometimes. It’s not that I lack confidence; I like to think that I am pretty confident to a point. I’m always that person that makes sure they’re in the front of the room in class even if they have no idea what they’re about to get into. But, at the same time, I’m pretty realistic about my limitations and hence, I get worked up about auditioning sometimes if I feel there’s a possibility that I would be in over my head.
But I heard about an audition and I was really excited about it for once. It was for a new company and the choreographer was from the Bay Area, so she was even excited to read my resume since I’m sure she knew a lot of my teachers from Mills. And the concept for the company sounded like it would be right up my alley.
So, it was at 2 and at about 11:30, I walk out the door to run a few errands in time to get back, grab a bite to eat and head out the door. But when I get down to the garage, my car doesn’t start. I try and try and it doesn’t start. Now, I’m not chummy with any of the neighbors and I don’t even think I have jumper cables, so I resort to calling AAA.
Now we’re at 12:15. The AAA guy jumps my car and I opt to go to my mechanic to get the battery replaced since this guy seems sketchy. I get there, he checks it, tells me that yes, it’s completely shot and needs to be replaced. It’s 12:40 and it’ll be done by 1.
I go for a walk to the library and back, kind of stressing but still feeling like I’ll make the audition. Get back to the mechanic by 1:15 and not only is the car not done, but they actually look at it for the first time and realize that it needs a new terminal as well. The damn thing is tiny and needs 2 screws, but it still takes them half an hour to finish it and I drive out of there at 2 pm - when I was supposed to be at the audition, which would easily have taken me half an hour to get to.
So, I didn’t make it. I would feel worse if it had been in my control and I had chosen not to go, but this time I was just a victim of circumstance.
Both sound pretty cool. I’m only making it to one of them, but thought I’d post the info for any of you who are in this area.
s.t.and(H) dance company Auditions (stand) We are a newly formed modern dance company based in Los Angeles CA. Currently we are seeking intermediate/ advance level dancers, who have training in modern, ballet, jazz, improvisation, partnering and hip hop. We are working toward a debut performance in August, 2010 and hope to have many more throughout the year. Performances will be paid with possible paid rehearsals. Auditions will be held on April 10, 2010 at 2:00pm. If you would like to audition please confirm an appointment by emailing your resume, headshot, and contact information to: email@example.com Please feel free to contact us with any questions you may have. Akweta Colbert
CALL FOR PERFORMERS
Prumsodun Ok and NATYARASA is seeking dancers for a work in development. Everyone – dancers and non-dancers alike – is invited to an audition on Sunday, April 11th, from 1 PM to 3 PM at UCLA in Kaufman 1000. Candidates must be ready to participate in a Cambodian classical dance workshop, interview with the choreographer, and perform a three-minute solo in their style of choice. Selected dancers will be asked to commit to a rehearsal schedule in preparation for upcoming performances; everyone in attendance will be invited to partake in weekly Cambodian classical dance classes free and open to the public.
Ladies in Line (Fragments of Womanhood)
A four year-old boy watches his sister being rolled away after her suicide in the face of a failed marriage, tears fall from a mother’s face as she watches the budding man before her walk into a world where prejudice and sadness loom, a student makes a pot of curry for his dance teacher – these images are conjured in fragmented letters written and read by choreographer Prumsodun Ok as women clap silently for a lone dancer striving to best embody and deliver the values embedded in her dance idiom. An elegy of chant, song, dance, and movement, “Ladies in Line (Fragments of Womanhood)” navigates through the meeting of personal history and social expectation, pitting the limitations of the dancer’s physicality against the ideals of the dancer’s practice. Setting Cambodian classical dance upon an ensemble of guest artists untrained in the form, Ok – a male practitioner of roles reserved for women – leads his fellow performers through ordered and balanced rows, employing and subverting, bending and breaking gestures and choreographies sculpted to a precision for over a millennium to explore what it means to be a Cambodian woman. He juxtaposes this monumental weight with the equally heavy expressions of the feminine characterizing the artistic traditions his featured performers specialize in (kathak, Afro-Brazilian, post-modern, etc). What results is a cross-cultural and multidisciplinary examination of gender and sexuality, socialization and artistic lineage – a deeply personal tribute to the women that have shaped the choreographer’s life that reveal specificities, universalities, and possibilities in bodies and spaces where ideals struggle to flower fully.
ABOUT PRUMSODUN OK
Prumsodun Ok is an artist working in dance, film, video, text, and design. He began his training in Cambodian classical dance with award-winning choreographer Sophiline Cheam Shapiro and studied with filmmakers Ernie Gehr, Brook Hinton, Jeanne Liotta, Sam Green, and composer Charles Boone at the San Francisco Art Institute. He began his samba training with Maisa Duke and her Energia do Samba in San Francisco.
Prum has taught dance and filmmaking through out California and performed at venues such as the San Francisco Ethnic Dance Festival, Mission Arts and Performance Project, Grand Performances Summer Concert Series, and Sacred Festival of Music and Dance. Beginning in 2006 he directed and produced the SFAI Asian Performance Series, creating a space for performers working in Asian and Asian-based forms such as Koyano Tetsuro, Sophiline Cheam Shapiro, Larry Reed, Kanoko Nishi, Ue Chau, and PLAZA in a school dedicated to contemporary visual art. Moving Images from the San Francisco Art Institute, a collection of films and videos Prumsodun curated, was presented at INTERCITY, a three year exchange between artists representing twenty-six cities, fourteen countries and four continents taking place at METAHOUSE in Phnom Penh.
Since leaving San Francisco, Prum resumed his training with Sophiline Cheam Shapiro and her Khmer Arts Ensemble in Takhmao, Cambodia, where he practiced intensively in female, male, and demonic roles with master artist Penh Yom as well. He began choreographing after these summer residencies while teaching dance at the Khmer Arts Academy and videomaking at the YMCA of Youth Institute of Greater Long Beach. His original dance works have been supported by a Durfee Artists’ Resource for Completion Grant, Margaret McKinney Folk and Traditional Arts Fellowship awarded by the Arts Council for Long Beach, and the Alliance for California Traditional Arts; they have been performed at venues such as the Red Poppy Art House, Highways Performance Space, REDCAT, and CounterPULSE. Prumsodun was one of thirteen artists chosen in 2009 to participate in CounterPULSE’s Performing Diaspora, a festival, residency program, commissioning program, and symposium featuring dance, music, theater, media and interdisciplinary artists who are using traditional forms as a basis for experimentation and innovation.
Prum currently lives in Los Angeles where he curates the Khmer Arts Salon Series, is a videographer for the Cambodian Community History and Archiving Project, is a member of the advisory board of UC Irvine’s Southeast Asian Archives, and pursues his research and training at UCLA’s World Arts and Cultures Department. He is the director of a new interdisciplinary performance ensemble called NATYARASA. Sanskrit for “essence of dance”, it rehearses traditional works of the Cambodian classical dance canon alongside Prum’s own innovations which employ elements of dance, theater, and filmmaking.